While the Reno Hilton Theatre
might seem at first blush an odd place to have high-art ballet, it is
the best stage venue in town and after seeing two shows by the Joffrey
Ballet, I am most pleased to report that it works!

I flew down from sunny Seattle
to sunny and hot Reno to enjoy the Thursday evening performance of a company
that I had long followed and admired but had not seen since its last foray
to Seattle in about 1981. Invited to also see the family matinée,
I was reminded during this show why I love dance and ballet and why I've
missed seeing this important, major American ballet company.

Presenting excerpts from its
current touring repertory, including the complete Alwin Nikolais masterwork
from 1951, "Tensile Involvement," plus lively and brief commentary
on partnering, which showed the Romantic as opposed to more “bravura”
styles, types of tutus, and pointe work. Questions from young audience
members concluded the bill. Kinetically exciting, Tensile’s principal
male, Michael Smith, made a very impressive debut in this part. Great
attack and passion.

This young matinee audience
impressed me as a mix of local ballet students, teachers, and their friends
and families. My further impression is that the dance audience of Washoe
County is hungry for professional dance. For both shows, the line to get
into the theatre wended its way through the casino.

Thoroughly attentive, this
enraptured group appropriately "ooo'd" and "ahh'd"
at all the right places. In fact a young girl near me, audibly gasped
when the ballerina (Valerie Robin) was lifted up off of the floor in "Monotones
II." And this really moved me, bringing a clutch to my throat and
a tear to my eye.

With Mr. Joffrey's "Pas
des Déesses," I was quickly reminded what a masterful choreographer
he was. (I'm a little sad, of course, that his overall choreographic output
was not far greater.) His inventive use of steps and patterns immediately
set the stage for this tribute or pseudo reconstruction of a pas de quatre
from the Romantic period in ballet for three famously rivalrous ballerinas
and their attentive partner, Arthur St. Leon, famous for choreographing
"Coppélia." Mr. St. Leon at this matinee was well played
and danced by Samuel Pergande.

I had seen this company do
its full production of Leonide Massine's historic "Parade" (from
the Diaghilev era, 1917) and their excerpt showing of the solo “The
Horse,” is brilliant. No music. Only the rhythmic hoofing of the
two guys who are this nag's body. It's a visual riot, with the rear sometimes
not doing what the front thinks it out to be doing (front end was David
Gombert, with a 50-pound costume head, and the errant rear was Michael
Smith – who had to lift Mr. Gombert, horse head and all!). Pablo
Picasso had tried his hand at theatrical design in this work, adding to
its allure.

“Tea from China”
and especially “Nougats from Russia” (Nutcracker excerpts)
echoed for me Mr. Joffrey's roots with his old, Russian and long-time
Seattle teacher Ivan Novikoff. It was authentic, lively and totally fun.

At the Thursday evening performance,
how wonderful it was to get to then see the full and complete "Pas
des Déesses" (dance of the goddesses) to the lovely and often
floating music of Irish composer John Field. Victoria Jaiani, Julianne
Kepley, Valerie Robin, and Peter Kozak were perfectly cast as Lucile Grahn,
Fanny Cerrito, Marie Taglioni, and Arthur St. Leon, respectively. Mr.
Joffrey fills each solo and mini-grouping with steps that seemed lifted
right from the Romantic era of ballet. I also enjoyed the tutti turning
contest of the finale, using hop turns with the right leg making fouetté
rond de jambes; perfect, as the "fouetté" as we think
of it today had not yet been invented. Kozak was a strong partner and
a solid soloist in his own right in the bravura work Mr. Joffrey made
to evoke the spirit of St. Leon.

It was great to again see
Ashton's "Monotones II" after having just seen it during the
Ashton program at San Francisco Ballet. This short masterwork by one of
England's greatest choreographers is nothing short of remarkable. Inspired
by the space age's "race to the moon," the movement, costumes,
and music all come together seamlessly to make a ballet that's (pardon
the phrase) out of this world. A friend and colleague who was with us,
commented that she first loved it seeing it in New York many years ago
and recalls that it impressed her as being the first ballet she saw that
used unitards. From Taglioni to "Space-Age," Valerie Robin was
awesome as the woman who gets lifted up straight from the floor, where
she was reposing in the vertical splits. Michael Levine (a native of nearby
Grass Valley, California) and Samuel Pergande turned and manipulated Robin
in ways that make the ballet look as if we were really observing a living
Calder mobile sculpture. Their collective line, timing and unified sense
of purpose were clear and visually satisfying. Truly a gem.

The Joffrey Ballet is one
of the largest, if not the largest, repository of Ashton works in North
America, and it is most pleasing to know that these works are being cared
for and performed in a loving, respectful, and relevant way. Joffrey Ballet
Master Mark Goldweber deserves the credit for the staging and the loving
care given to the performances of "Pas des Déesses,"
"Monotones," and "Confetti."

Gerald Arpino's two works
on the bill were also great audience hits -- his 1970 "Confetti"
and his 1981 "Light Rain." "Confetti"
is a light and energetic morceau that builds nicely and follows the Rossini
score of the overture from "Semiramide." If you are familiar
with the Balanchine "Tarantella" pas de deux, this comes from
the same color palette. Buoyant, boisterous and a great way to show off
the company's technique and ability to adapt to this style, tambourines
flying streamers and all. I like how Arpino deftly moves dancers in and
out and mixes the groupings, giving each a chance to shine, to excite
us and build his choreographic statement.

While "light" is
in the title of "Light Rain," I'd have to say this is more of
a serious work. Conceived to show off the young dancers of the company,
it remains engaging and most interesting 23 years later. Visually arresting,
it opens with a group tableaux and impresses one of being in a hot, rainy
jungle. A forest filled with wild and sleek dancers.

Reno area native Maia Wilkins
(from Truckee, California) was shown off in both the last two pieces.
With her strong technique, open face, and expressive dancing, it's easy
to see why she has been a Joffrey treasure for over 13 years.

What a thrill it was to see
this great American dance company again. They are a beautiful and good-natured
ensemble of artists that are a joy to see. I hope that many more segments
of our population get to enjoy them too, as they tour and give home seasons
in Chicago. Their
appearance in Reno, sponsored in part by "Artown" was a gamble
that paid off handsomely.

Edited by Jeff.

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